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INTRADA Presents:
ImageImage
THE HUSTLER
Composed and Conducted by KENYON HOPKINS
INTRADA Special Collection 375
In the 1961 20th Century Fox film The Hustler, one of the elements that keeps the film resonating is its extraordinary score, perhaps the masterpiece of its composer, Kenyon Hopkins. Hopkins had shown a consistent, passionate commitment to the jazz idiom, along with a respectful acknowledgment of American blues and roots music. The moody, atmospheric, and determinedly ambient music is relatively sparse, but no less powerful in the film. Like the film itself, Hopkins’ score is both gritty and tender and sweetly redolent. His top-of-the-line players include pianist Hank Jones, sax player Phil Woods, trumpet maestro “Doc” Severinsen, and the likes of Bernie Glow, Jerome Richardson, Jimmy Cleveland, Milt Hinton and Joe Wilder Hopkins. The score features extraordinary use of oboe, flute, French and English horns, and muted trumpet— not necessarily colors of first choice in jazz—to lend gravitas to the more serious, melancholy moments in the score. Much of the music here is “city streets”-style jazz: potent yet minimalist— and about as far from traditional Hollywood symphonic scoring as one can get. And yet, Hopkins respects tradition by providing recurring themes and motifs, often to underscore characters as well as onscreen action.
This new release from Intrada was assembled from the original multi-track stereo session elements in the Fox vaults by Mike Matessino, and showcases expertly one of Hopkins most important works. Hopkins remains a film music enigma— with a multitude of film and LP credits, but very few CD releases.
In the film, Fast Eddie Felson (Paul Newman), knows next to nothing, but he does have talent. Arrogant, cocky, and clueless, Felson believes he’s ready to beat the greatest of pool players: the legendary Minnesota Fats (Jackie Gleason). But Eddie gets drunk, losing every advantage, and loses. Eddie, despite all his flashy gifts, is a loser and is surrounded by a cocktail of richly detailed, profoundly desperate characters. Yet, despite the horrors he is forced to endure—and to which he tragically contributes— Felson nevertheless emerges by film’s end as a man redeemed.
INTRADA Special Collection 375
Barcode: 7 20258 53752 2
Retail Price: $21.99
SHIPPING NOW
For track listing and sound samples, please visit:
http://store.intrada.com/s.nl/it.A/id.10730/.f
ww.intrada.com
Original 1961 Soundtrack Album
01. Main Title (Stop And Go) (1:53)
02. Minnesota Fats (2:06)
03. The Loser (3:23)
04. Sarah’s Theme (2:05)
05. 4 Flights Up* (1:43)
06. Fast Buck (2:10)
07. Small-Time Charlie (2:29)
08. Bert’s Theme (1:51)
09. Contract With Depravity (2:13)
10. All Thumbs (1:44)
11. Dining Out (1:19)
12. Derby Time (2:56)
13. Lipstick On A Mirror (2:04)
14. The Winner (1:33)
15. End Title* (2:01)
The Extras (Previously Unreleased)
16. Unused Cue Number 1 (3:11)
17. The Loser (Film Version) (1:01)
18. Unused Cue Number 2 (2:19)
19. Cocktail Trio (2:12)
20. Unused Cue Number 3 (0:36)
21. Hustle Beat (0:26)
22. Hustle Beat Double Time (0:22)
23. Theme Number 1 (1:37)
24. Main Title Demo 1 (1:41)
25. Main Title Demo 2 (1:40)
26. Main Title Demo 3 (1:42)
27. Side Pocket Radio (1:52)
28. Time Cue 1 (0:41)
29. Time Cue 2 (1:16)
30. End Title Section 2 (3:01)
31. Eddie Hurt Radio (1:27)
32. April Hurt Radio (2:38)
33. The Loser Radio (2:52)
34. Theme Number 3 (2:10)
35. Theme Number 1 – Second Version (1:53)
*Extended Version
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I love this score, so I am pleased to see it finally getting a CD release, and am ecstatic that it there is so much additional material. I am very eager to get this disc.
I hate being the guy who brings up the next release before he's even heard the one being announced, but I do hope this does mean that we may see some more Kenyon Hopkins on CD in the future.
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I also see that Jackie Gleason's name was not shown on the original Kapp album cover, no doubt because he was a "recording artist" for another label, Capitol.
So glad you pointed that out - I was deeply confused by the cover. For a moment there, I actually thought "Wait - Jackie Gleason really WAS Minnesota Fats?!" 
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So glad you pointed that out - I was deeply confused by the cover. For a moment there, I actually thought "Wait - Jackie Gleason really WAS Minnesota Fats?!"
You know, of course, he was supposing a music label conflict, not a need to clarify Gleason's identity.
Yes, I know, having owned Gleason recordings since I was a child. Thus the winking emoticon. Welcome to the internet.
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